tv [untitled] September 15, 2011 11:30pm-12:00am PDT
they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists. welcome to the show, deborah. tell us how this program began 20 years ago. >> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed
over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work.
it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic.
let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death.
this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to
the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work
with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for
allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. everybody is welcome to come out. we have food. sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply. we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪
>> welcome to culture wire. we will look at the latest and greatest public art project. recently, the airport unveiled the new state of the art terminal. let's take a look. the new terminal service and american airlines and virgin america was designed by a world- renowned architecture's firm. originally built in 1954, the building underwent massive renovation to become the first registered terminal and one of the must modern and sustainable terminals and the united states. the public art program continues its 30-year legacy of
integrating art into the airport environment with the addition of five new commissions that are as bold and dynamic as the new building. >> this project was completed in record time, and we were able to integrate the artist's early enough in the process that they could work with the architect said that the work that is completed is the work that really helps complement and instill the space as opposed to being tucked away in a corner. >> be experience begins with the glass facades that was designed with over 120 laminated glass panels. it captures the experience of being under or over clouds when flying in a plane. depending on the distance or point of view, it can appear clear for more abstract and atmospheric.
the subtle colors change gradually depending on the light and the time of day. >> i wanted to create an art work that looks over time as well as working on in the first glance. the first time you come here, you may not see a. but you may be able to see one side over the other. it features a couple of suspended sculptures. each was created out of a series of flat plains run parallel to each other and constructed of steel tubing. >> it is made up of these strata. as the light starts to shift, there is a real sense that there is a dynamism. >> it gives the illusion that this cultures might be fragments of a larger, mysterious mass.
>> the environmental artwork livens it with color, light, and the movement. three large woven soldiers are suspended. these are activated by custom air flow program. >> i channeled air flow into each of these forms that makes it move ever so slightly. and it is beating like a heart. if-0 when as of the forces of nature moving around us every second. >> shadow patterns reflect the shapes of the hanging sculptures. the new terminal also features a children's play areas. both of the market the
exploratory n.y. -- exploratorium. the offer travelers of all ages a playful oasis. using high quality plywood, they created henches shaped like a bird wings that double as musical instruments. serving as a backdrop is a mural featuring images of local birds and san francisco's famous skyline. >> in the line between that is so natural, you can see birds and be in complete wilderness. i really like that about this. you could maybe get a little snapshot of what they are expecting. >> it is an interactive, keck
sculpture that is interacted with by the visitor. >> they are a lot about and they fall down the belt. it moves the belt up, and if you turn that faster, the butterflies fall in the move of words. >> the art reflect the commission's commitment to acquiring the best work from the bay area and beyond. in addition to the five new commissions, 20 artworks that were already in the airport collection were reinstalled. some of which were historically cited in the terminal. it includes major sculptures by the international artists. as a collection, these art works tell the story of the vibrant arts scene in the early 1960's through the mid-1980s's. the illustrate san francisco's
cultural center and a place of innovation that is recognized and the love throughout the world. one of the highlights is a series of three left tapestries. they are on view after being in storage for 20 years. these tapestries representing various gardens. from his years of living in san francisco. hydrangeas, chrysanthemums, and whilst dahlias in rich, deep shades as they make their way to the baggage area. they can access behind-the- scenes information and interviews with the artist through an audio to work. it features archival audio as well as interviews with living artists.
he can be accessed on site by dialing the telephone numbers located near the artwork or by visiting the commission's web site. the public art speaks volumes of san francisco as a world-class city with world-class art and culture. for more information, visit >> welcome to "culturewire." since december 2005, the museum of the african diaspora, known locally,moad, has presented programs that celebrate and explore the culture, history, and art of people with african descent throughout the and added states and throughout the world. the director of cultural affairs recently met with the museum director. to learn more about the current expedition, textural rhythms,
constructing the jazz tradition, contemporary african american quilts. >> welcome to "culturewire." today, we are at the museum of the african diaspora, which is celebrating its fifth anniversary occupying one of the premier cultural district in the world, the yerba buena cultural arts center in san francisco. joining me is the cultural art director. tell us what moad's mission is. what does it do? >> the museum of the african diaspora showcases the history, art, and cultural richness that resulted from the dispersal of africans throughout the world. we do that through compelling and innovative exhibitions,
public programs, and education programs. our goal is to celebrate and present for appreciation to our broad and diverse public the controversial energy contributions of people of african descent to world culture in all aspects in all areas, including politics, culture, economics, education, just in all aspects of cultural forms of expression. >> one of the fascinating things since 2005 when the museum was established, is that it has become clear from science that all of humanity originates in africa. how does that influence the education programs or presentation here at moad? >> obviously, being able to attenuate that, and there is a sign at the door that says, "when did you know that you were african?"
our point is that we share a common dna, and it connects us on a number of different levels. this institution is an institution available to everyone, a resourced for everyone. >> you have both permanent and temporary exhibitions, right? >> we do. our temporary exhibition program is one that we are restructuring. i have been here now for about a year and a few months, and as a former curator, i'm very interested in this aspect of developing the visual arts program. part of what we are looking at is using the four core seems that define our program -- origins, migration and movement, transformation, an adaptation -- as a framework for our thinking about the kinds of exhibits we present. >> we want everybody to come and see the permanent exhibition. there might be a special opportunity to visit with the current show that you currently have, which is constructing the jazz tradition, which is a very
striking exhibition of quilts. >> it is a compelling exhibit on a number of different levels. visually, it is compelling. in terms of the subject matter, in terms of the approach to materials, it is so rich and diverse. it is a colorful show, a show that is deep in content, and we know something of the history of the "'s tradition within the african-american community. it is a tradition that came from africa, has its roots in africa, but during slavery, this was a combination of things. one was a way to be able to communicate with each other, a way to create beautiful objects, and a way to create functional, utilitarian objects for the family and community. the other part that makes it so interesting is the focus on jazz. there are two attritions being celebrated here. certainly, the tradition as we know it -- these are not traditional quilts.
they have their roots in traditional aspects, but what you will find in this exhibition are works that include materials on the surface, new processes, copying, and putting photographic images on the surface. you will find packets sewn onto the surface, so the methodology from traditional " making has changed from how traditional quilt makers use the medium. >> our visitors can visit the web site, which we will be showing on the segment, so follow the link to the website, and get all of the latest information about all these events related to this exhibition, and, of course, you guys are very active. throughout the year, with all kinds of special programs. >> yes, we are. this is what i'm so excited about. >> this may take us off track a
little bit, but a couple of things i wanted to highlight is that the creation of moad is one of the flagship creations of the redevelopment of san francisco. it is housed inside -- what is the building? the regency, right? >> the st. regis museum tower. >> the st. regis museum tower, which is one of the development projects that was promoted by the redevelopment agency is what allows the city to -- and the development agency to give form and establish moad in the yerba buena cultural district. now, we are looking at governor brown oppose a proposal, which means that in the future, it he is successful, they would not have had the rebel the agency to promote these economic and cultural projects. it is something that has relevance today in terms of
public policy today, what is going to happen in the future if we do not have a redevelopment agency to promote this development. >> yes. moad is the result or culmination of a public/private partnership that included the redevelopment agency and former mayor brown, and included the developer of this area. we had an opportunity to develop, create important cultural components of this public/private partnership. i understand the concern. i'm delighted they are here and will continue to be here and will continue to do the good work we are doing. >> absolutely. thank you so much for being part of "culturewire." >> thank you for having me. >> for more information about the museum of the african the museum of the african diaspora, visit moadsf.org.
>> welcome to "culturewire." on this episode, the director of cultural affairs takes us on a field trip to the mission district to check out odc's new 36,000 square foot campus, the largest in the region. >> for san franciscans, odc has a very significant significance. stands for a venerable performing arts organization celebrating its 40th anniversary of bringing fans and theaters to the bay area. standing with me today on "culturewire" is the theater director of odc.
thank you for joining us. i mention that this is the 40th anniversary. >> it is indeed. >> i'm standing with you in a fabulous theater that was completed six months ago in time for this anniversary. tell me about how it has been going for the last six months. >> absolutely. in terms of the anniversary, the dance company, which is our founding body, is celebrating its 40th anniversary, and it is the 30th anniversary, so it is historic for both sides, and the completion of the theater represents in some ways the completion of our entire campus that began in 2005. it has come to its fruition with the completion of the theater. the theater opening was remarkable. one of the things we wanted to do was to make sure that our community really truly -- our san francisco bay area community understood that this theater was for them. we invited 31 bay area companies
to do a day-long performance marathon, so we really launched with a feeling of this is for everyone in this community. it was a tremendous thing to bring everyone together around the opening of this building. >> you are part of our creative troika, including the founder, brenda wey and k.t. nelson. talk about what it is like to keep this campus going. >> it is a wonderful thing to be working with someone who is certainly your co-worker and also largely your mentor. i inherited the theater at a funny time in its life. it needed to make some decisions as an institution about what it wanted to be. whether it wanted to be exclusively a rental facility, it is needed to be a rehearsal space with a really high ceilings -- whatever it was,
having that level of leadership that my founding director is also my boss really made that possible. i really felt like i had great stewardship and we were able to make really innovative decisions for how the theater could grow over the decade. >> living with -- living with someone who is both your immediate boss and also a working artist is also a huge asset. that is one of the things that keeps the creativity flowing through odc. it is a campus about the creative process at all times. >> the theater was part of a second phase of capital fund raising and community support. the previous one had renovated the space where the rehearsal studios are and the school is, sell what does that sort of say about the importance of the odc in the community? >> i think it's spoke to the two very different tracks of our organization. part of what we do is education and outreach.
part of what we do is performance on the part of our company, odc dance, and a third part of what we do is this presenting an incubation stage. when we came to people to talk about the theater as a second investment after having built the dance commons, the distinct purpose of the theater really came through. what we were going to do with our venue was invest deeply in creativity, deeply in our regional artists, and we were going to do something that most mid-size san francisco venues have struggled to do. >> talk to me a little about the group other than odc that have used this space. >> one of the great pleasures in our opening season was to go back and invite two of our former resident artists to launch this space. arab laung was to invite